480 research outputs found

    Learning to be a Prison Educator

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    This paper explores the process by which instructors learn to teach in prison. First, research on the challenges correctional educators encounter is explored. Second, an instructor training and mentorship program developed in Alberta, Canada will be presented, followed by a discussion of the importance on ongoing professional development that is specific to correctional educators

    THE FUTURE OF AGRICULTURE ON THE GREAT PLAINS

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    Farm Management,

    Teaching in an unfamiliar place: A mixed methods-grounded theory study on the experiences of new correctional educators

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    New correctional educators must learn to teach in an unfamiliar correctional environment. In this convergent mixed-methods study, experienced correctional educators in Alberta, Canada reflected on their first 6 months teaching in adult correctional institutions. Teachers initially struggled to do something familiar (teach) in an unfamiliar place, perceiv- ing prisons as non-conducive to education. Seeing the absence of a purpose-built community, they built one or attached to existing non-educational communities. New educators invoked strategies such as engaging in mutual support, connecting with non-education professionals, asking others to demystify institutional culture, and practicing reflexivity. When reflecting on useful training and orientation activities, participants favoured community and relationship building. The teachers’ actions are framed using the concept of communities of practice, and a substantive theory of learning to teach in correctional environments is proposed. Finally, recommendations are provided to help ensure that new teachers are supported and prepared as they enter correctional education

    Alien Registration- Patrie, Noel (Waterville, Kennebec County)

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    https://digitalmaine.com/alien_docs/15114/thumbnail.jp

    Alien Registration- Patrie, George (Fairfield, Somerset County)

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    https://digitalmaine.com/alien_docs/9220/thumbnail.jp

    How Instructional Strategies Engaged Fourth Graders In Math Learning

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    The purpose of this qualitative study was to examine the experiences of fourth-grade learners in a math classroom, how fourth graders express their interest and desire to learn math, and how different instructional strategies influence that interest and desire. The participants for this study were all fourth graders enrolled at a rural school district in Maine that serves approximately 1,200 learners in grades pre-kindergarten through Grade 6. Fifteen fourth graders provided the data to determine student perceptions on how they engage in math instruction. The findings of this study indicate strong relationships between instructional strategies and the self-determination theory of motivation. Specifically, students prefer learning that is problem solving oriented, purposeful, future focused, voice in choice in how they learn and that students require relatedness, autonomy and competence when learning math

    Rural Food the Co-op Way Option

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    Food deserts, Food access, Customer service, Competition with big box chain grocery stores, Models of grocery store ownership, Grocery stores as civic and cultural spaces, Financing store operations, Policy options to promote and sustain grocery operations Description: History and progress of a small North Dakota community and its efforts to maintain and grow a grocery store and a meat processing plant using the cooperative model. Since 2008, when our local grocery store nearly closed and our locker plant was closed due to the death of the owner of both, the community stepped up and purchased the building and inventory. Five years later the store is holding its own and a brand-new state-of-the-art meat processing plant is up and running. Using a PowerPoint presentation, we show you the ups and downs of making this happen, including funding strategies, resource gathering, and lessons learned. Bowdon, North Dakota: A Cooperative Owned by the Community

    Outcomes for graduates of baccalaureate interpreter preparation programs specializing in interpreting in K-12th grade settings

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    A Project under the Auspices of the National Technical Institute for the Deaf, Rochester Institute of Technology, Rochester. NY & Monroe #1 Board of Cooperative Education Services Rochester, N

    Getuigen, NU: Passages van Catherine Dajczman

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    Toneel. Passages is de allereerste productie van het Canadese theatergezelschap NU. Catherine Dajczman schreef het stuk en neemt, in een regie van Marcel Pomerlo, de rol van ‘Hoofdpersonage’ op zich. Eén stem, vele geschiedenissen, een verhaal op het kruispunt van verschillende levens: dat van het hoofdpersonage, van haar Poolse grootvader en haar grootmoeder uit Québec.Spectacle. Première création de la compagnie NU, Passages est mise en scène par Marcel Pomerlo, et Catherine Dajczman y endosse, avec celui d’auteur, le rôle de l’« Héroïne ». Ce récit à une seule voix, traversé par des faisceaux de l’Histoire, se situe au point de passage entre plusieurs destins : celui de l’héroïne, de son grand-père polonais et de sa grand-mère québécoise.Theatre. Passages is the first piece of the Canadian company NU. It is directed by Marcel Pomerlo, and written and performed by Catherine Dajczman. We here one voice traversed by many strings of History – a story at the crossroads of several lives: that of the ‘Heroine’, her Polish grandfather and her Quebecois grandmother

    D’une mise en récit d’un monde apocalyptique à la drama

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    We noti ce an impact, an infl uence of the French History on the literature. For example, we fi nd the theme of the death in novels due to the modern wars: the World War I and the World War II. Indeed, the narrati ve's creati on respects the transformati on of the society. We can ask the questi on whether the literature doesn’t want to put into the narrati ve's form its own death. To illustrate our argumentati on, we chose testi monies of Holocaust and absurd theater plays. This corpus is representati ve of the depression and the pessimism of France afer the war. In reality, an apocalypti c narrati ve, a dramati c art of the end, is the mirror of a society, and a constantly evolving literature, which was born, dies and will be reborn
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